"A complaining guitar sound---one high, stretched, strident note that 
gave off the feel of someone trying to scrape dirt off his hand with a 
knife---rang through "30 Seconds Over Tokyo," growing more and less and 
more and less accepting as the drama took shape, 
nothing-you-can-do-about-it turning into I-can't-take-it-anymore and 
turning back." (Greil Marcus, The Shape of Things to Come)